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Volume 26 Issue 1 - September 2020

  • Text
  • Ensemble
  • Classical
  • Concerts
  • Singers
  • Choral
  • Jazz
  • Toronto
  • Musical
  • September
  • Choir
Choral Scene: Uncharted territory: three choirs finding paths forward; Music Theatre: Loose Tea on the boil with Alaina Viau’s Dead Reckoning; In with the New: what happens to soundart when climate change meets COVID-19; Call to action: diversity, accountability, and reform in post-secondary jazz studies; 9th Annual TIFF Tips: a filmfest like no other; Remembering: Leon Fleisher; DISCoveries: a NY state of mind; 25th anniversary stroll-through; and more. Online in flip through here, and on stands commencing Tues SEP 1.

Serenata Caroline

Serenata Caroline Léonardelli CEN Classics CEN1022 (carolineleonardelli.com) ! Canadian JUNOnominated classical concert harpist Caroline Léonardelli describes her third recording as a “homage to her Italian heritage.” Her detailed, conscientious research culminates in this allsolo, Italian-based harp-repertoire release featuring composers from the 19th and early 20th centuries, a time when the modern version of the concert harp was being introduced. The compositions touch on such influences as fantasies, studies, suites, classical, opera arias and folk/popular music. Léonardelli performs them all with subtlety, virtuosity and incredible dedication. Title track Serenata Op.51 No.6 (1910) by Alessandro Longo is an uplifting classical harp work with contrasting high notes and lower pitched lines, glissandos and slight rubatos at the ends of phrases. Luigi Tedeschi’s slower Etude Impromptu Op.37 (1906) is stylistically more Romantic with high clear pitches and sensitive melodic movement. Giovanni Caramiello bases his Rimembranza di Napoli Op.6 (1877) on two Neapolitan folk songs. The detached effect going into the infamous song Santa Lucia, with its high-pitched ringing middle song section, will make one want to listen to the harp instead of trying to sing along! Two Gaetano Donizetti opera arias are featured, one arranged by Albert Zabel and the other by John Thomas. Both become harp arias without words while remaining very true to Donizetti’s original works. Virgilio Mortari’s two pieces feature more contemporary colours and chromatic melodies. Léonardelli is an expressive, smart, devoted harp soloist. Both harp fans and those new to this instrument will enjoy her performances. Tiina Kiik MODERN AND CONTEMPORARY Samuel Andreyev – Iridescent Notation Dina Pysarenko; Maren Schwier; Ukho Ensemble Kyiv; Luigi Gaggero Kairos 0015002KAI (kairos-music.com) ! In this latest release from Canadian composer Samuel Andreyev (b.1981), the virtuosic Ukrainian Ukho Ensemble Kyiv and guest soloists expertly deliver a collection of chamber works that highlight an artistic voice of obvious contemporary importance – a voice well beyond its years in maturity and control of expressive intent. This disc begins with the title-track work, a piece in seven movements for soprano and ensemble, with text by well-known English- Irish poet Tom Raworth. Here, the strong ensemble writing expertly punctuates elegant beacons that complement the soaring soprano part remarkably well. The extended techniques (unusual ways of playing the instruments) used throughout are decidedly modernist in their application, but the utility of these procedures is not used merely for surface effect: the resultant atmosphere heightens the quality of the text setting through highly creative musical pronouncements. A big standing ovation must go to soprano Maren Schwier for an incredible display of vocal acrobatics and control of colour, in what is quite a challenging work for the voice. With a collection of works that make use of many impressive jagged gestures that never seem to disappoint despite their frequency, there is a brilliant moment of contrast on the disc in a piece titled Nets Move Slowly, Yet. This piece is mysterious and elegant as it unfolds throughout pulsing hypnotic panoramas. Expectations are not redirected through punchy instrumental interjections, but through abrupt yet gentle shifts in mood – a quality that produces beauty through lucidity. With a collection of successful and sophisticated works, it is no wonder Andreyev continues to make his mark on the contemporary music world. We all look forward to more exciting music from this young talent. Adam Scime Belvedere Jon Siddall Independent (jonsiddall.com) ! Veteran Vancouver-area composer, guitarist, pianist and music producer Jon Siddall from his website: “I write slow music. With my new album Belvedere I’ve returned to that approach. The music develops, but slowly, or maybe hardly at all.” Siddall’s music could also be tagged minimalist or experimental ambient, genres that Siddall has deep roots in: his teachers have included leading maverick composers James Tenney (York University, Toronto), Terry Riley and Lou Harrison (California). Siddall plays four of the Belvedere tracks on electric guitar, electric bass, mandolin and electric piano. The fifth track, Hello Snowflake, is played on the gamelan degung of West Java, Indonesia performed by the eight musicians of Gamelan Si Pawit, Siddall’s Vancouver group. Degung, a kind of tuned percussion ensemble, also features a solo suling (bamboo ring flute). In this score however, Siddall chose not to use the suling and kendang set (barrel hand drums), but rather adds two kacapis (plucked West Javanese zithers). The result: exclusively struck and plucked sounds which naturally decay each at its own rate, evoking a non-pulsed, unhurried, contemplative mood. Siddall’s rock guitar background shines through in Bliss Curve and in the spacious Belvedere for electric guitar trio. Clementine Mandala, for vintage Fender Rhodes (electric piano), is constructed of a long ascending melody performed at different speeds, superimposed in various ways, a texture common also in gamelan music. The composer writes evocatively, “Belvedere – is a vista, a beautiful view [to leisurely contemplate]. This album … invites immersion into that space. It’s music for dreamers, music to dream with, music with which to awaken calm.” Andrew Timar Quinsin Nachoff – Pivotal Arc Nathalie Bonin; Molinari String Quartet; Quinsin Nachoff; JC Sanford Whirlwind Recordings WR4761 (quinsin.com) ! Composer and saxophonist Quinsin Nachoff has been merging formal composition and an expansive jazz vocabulary since conjoining a string quartet and a jazz group on his 2006 debut Magic Numbers. However, the blurring of traditionally distinct musical categories has reached its high point in the three compositions heard on Pivotal Arc. The CD’s major work is Nachoff’s Violin Concerto for soloist Nathalie Bonin, a 46-minute work in the traditional threemovement format. Fusing elements of Berg and Stravinsky and occasionally reminiscent of William Russo’s music, the work is written in a heterodox personal idiom for an ensemble that includes the Molinari String Quartet, seven brass and woodwinds, and a jazz-based rhythm section with bassist Mark Helias, drummer Satoshi Takeishi and vibraphonist Michael Davidson providing special propulsion. Conducted by JC Sanford, the performance brims with life, with Bonin bringing a special animation to its tango and Balkan-suffused elements and a cadenza that mingles composed and improvised materials. Nachoff’s String Quartet is filled with dense harmonies and sudden explosions, eschewing any immediate references to the elements of jazz. Each of the four movements is based on a different lead voice, the device contributing to each segment’s distinctive quality. The concluding Pivotal Arc, more traditional in its harmonic language, is also the piece that brings improvisation to the fore, from Helias’ 48 | September 2020 thewholenote.com

elegiac arco solo to Nachoff’s own tenor saxophone oration, pensive, expressionist, rhapsodic by turn, whether etched in abrasive split tones or soaring highs. Stuart Broomer Chamber Works by Walter Kaufmann ARC Ensemble Chandos CHAN 20170 (chandos.net) ! This, the firstever CD devoted to the music of Walter Kaufmann (1907- 1984), is the latest in the Music in Exile series by Toronto’s ARC Ensemble (Artists of The Royal Conservatory), showcasing unheralded composers who fled Nazi Europe. In 1934, the Czech-born Kaufmann left Germany, becoming director of European music for Bombay’s All India Radio, composing, conducting, playing viola and piano in chamber ensembles and researching Indian, Nepalese, Bhutanese and Tibetan music. Moving to Canada in 1947, he served as the Winnipeg Symphony’s first music director (1948-1958) before teaching ethnomusicology at Indiana University. Although Kaufmann composed prolifically throughout his career, including six symphonies and over 20 operas, each piece on this disc dates from his years in India. String Quartets Nos.7 and 11 receive visceral performances from the stellar foursome of violinists Erika Raum and Marie Bérard, violist Steven Dann and cellist Thomas Wiebe. Raum and pianist Kevin Ahfat collaborate in Violin Sonata No.2; clarinetist Joaquin Valdepeñas and Ahfat perform Sonatina No.12 (originally for violin and piano); violinist Jamie Kruspe and cellist Kimberly Jeong join the ensemble in Septet for three violins, viola, two cellos and piano. These are substantial works, in which plaintive solemnity alternates with emphatic, syncopated dances, all heavily imbued with Indian modal, melodic and rhythmic sequences. I found this engrossing mix of European and Asian traditions richly rewarding and hope that this superb CD will inspire more recordings of Kaufmann’s music. I’d love to hear them. Michael Schulman In Lights Starkly Different Drew Whiting Innova Recordings innova 032 (innova.mu) ! American saxophonist Drew Whiting’s wide-ranging musical expertise performing on soprano, alto, tenor and baritone saxophones, combined with his interest and dedication to contemporary electronic music, make his release featuring seven recent sax/ electronics compositions memorable. In Lights Starkly Different, composer Robin Julian Heifetz created loud and hyper-digital sounds using REplayPLAYer software and later processed with GRAM Tools. Chance and notation drive the piece as the tenor saxophone’s fast flourishes and tones ground the background electronic crashing, echoes and intense atonal effects. More unsettling sounds in Ed Martin’s Break, as Whiting plays baritone loud/soft contrasts, wailing atonalities and pitch slides against intense electronic washes and crashes. In Ötzi (named after a 5,000-year-old mummy) composer Alexis Bacon’s recorded rocks and metal noises make eclectic clicks, crashes and walking sounds against the tenor sax. For the Fallen, by Judith Shatin, has its slower, lyrical, emotional soprano sax lines lock into electronics created from recordings of Italy’s Capana dei Caduti (Bell for the Fallen). Love the multiple contrapuntal saxophone lines in John Mayrose’s Random Access, as Mayrose uses live electronics to layer Whiting’s alto sax (stored in RAM) for effects. In Jeff Herriott’s As brightness is smeared into memory, the reflective romantic soprano sax part is closely connected to electronic washes. Nathan Edwards’ Saudade Study, with tonal ambient tenor sax and delay/reverb effects is sad, thought-provoking emotional moods music. This is contemporary music at its best as Whiting breathes and plays saxophone in contrasting intensities and styles with diverse electronics effects. Tiina Kiik Forward Music Project 1.0 Amanda Gookin Bright Shiny Things BSTC-0135 (brightshiny.ninja) ! It is the highest level of artistry that can realize a message, a story or an emotion while seeming to have not performed it at all. This was my takeaway from my introduction to cellist Amanda Gookin. Forward Music Project 1.0 is a collection of seven pieces for solo cello and electronics ranging in length from five to 12 minutes by seven culturally diverse women composers. I rarely found myself thinking of the stunning level of execution; I was so immersed in the inspired delivery of these seven miniature works of art. Beginning with Natalie Joachim’s Dam mwen yo, a picturesque blending of the voices of Haitian women lovingly embraced with cello, to the dynamic and powerfully joyous final track of Jessica Meyers’s Swerve, each work outlines themes of the cross-cultural injustice and suffering of women. From one track to the next I was moved by the stunning technique that beautifully unified the collection. Gookin keeps the unique and accessible collaboration on message by including the voices of the composers themselves, available as short descriptive introductions in their own voices on YouTube, thus keeping this album refreshingly free of ego. But the music itself warrants attention regardless of the storytelling. “For mothers. For sisterhood. For brave storytellers and quiet listeners. I sing, I gasp, I fight, I breathe life into the work of these fearless artists. I founded Forward Music Project for you. And you are not alone.“ I was woefully ignorant of Amanda Gookin before this inspired listen, but I have surely become among her greatest fans. A significant and most welcome collaboration for the times. Cheryl Ockrant Mark Abel – The Cave of Wondrous Voice David Shifrin; Fred Sherry; Hila Plitmann; Sabrina-Vivian Höpcker; Dominic Cheli; Carol Rosenberger; Sarah Beck Delos DE 3570 (naxosdirect.com) ! California-based composer Mark Abel explains in the liner notes that his father was a “devotee” of such classical chamber music composers as Mozart, Brahms, Beethoven and Dvořák, which clearly influenced his emotionally driven compositions grounded in modern and classical styles. Abel is renowned for his vocal works. His exciting song cycle Four Poems of Marina Tsvetaeva features four Russian poems translated to English for the first time by Alyssa Dinega Gilliespie. Soprano Hila Plitmann sings with dramatic clarity, musicality, tuning and high pitches. Carol Rosenberger (piano) and Sarah Beck (English horn) support with technical/ musical control as the words and music are one. Diverse tonal and stylistic storytelling is featured in Abel’s chamber works. Intuition’s Dance features Rosenberger and clarinetist David Shifrin playing contrasting happy bouncy faster, and slower spooky lyrical sections. Cellist Fred Sherry joins them in the three-movement Clarinet Trio in which they each are almost soloists, especially in Taking Flight, with its energetic pulsing opening, and upbeat jazz-flavoured closing. Another wordless musical story suggesting “the subconscious mind’s journey through the course of the day” is The Elastic Hours, performed by violinist Sabrina-Vivian Höpcker and pianist Dominic Cheli. What Friday Brought opens with a positive endof-the-work-week mood until stuff happens with moody tremolos, and held notes. thewholenote.com September 2020 | 49

Volume 26 (2020- )

Volume 26 Issue 1 - September 2020
Volume 26 Issue 2 - October 2020

Volumes 21-25 (2015-2020)

Volume 25 Issue 9 - July / August 2020
Volume 25 Issue 8 - May / June 2020
Volume 25 Issue 7 - April 2020
Volume 25 Issue 6 - March 2020
Volume 25 Issue 5 - February 2020
Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 3 - November 2019
Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)